I think Direct Cinema's trying to be insightful by looking at reality in a very close way while, in fact, much more is staged than we like to think. In cinema verite, it's about trying to make something invisible visible - the role of fantasy and imagination in everyday life.
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If you film a little boy going to school, the big event in that boy's day and all the classmates' and teachers' day is you being there filming, not the school.
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I didn't really get any rigorous background in film history.
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People may assume 'The Act of Killing' is a historical documentary about what happened in 1965. But our purpose was to expose a present-day regime of fear for what it is.
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For my part, as a filmmaker, I've never been a fly-on-the-wall documentarian. I have no commitment to that method. I believe it's a lie.
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I think that our task as filmmakers is to create the most insightful reality given the most pressing questions.
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You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
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I think fundamentally, I had to make a decision really on whether this was a film about the past or the present. And 'The Act Of Killing' is a film about the present.
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We have to support truth and reconciliation and some form of justice.
